scholarly journals Escapism and the Feminist Agenda in ChimamandaNgoziAdichie’s Purple Bibiscus

2016 ◽  
Vol 2 (2) ◽  
pp. 45
Author(s):  
Shija TERHEMBA
Keyword(s):  
Female Characters ◽  
Male Domination ◽  
Avant Garde

<p>Despite the well-known approach among avant-garde feminist novelists in Nigeria of creating agile and assertive female characters to challenge male-domination, Chimamada Ngozi Adichie in Purple Hibiscus creates docile female characters who readily escape into their cocoon to avoid encounters with patriarchy. Her novel however, manages to impact on the feminist agenda by her ingenious depiction of the harsh and unreasonable male hegemony on a mission of self-destruct.</p>

scholarly journals Ibsen in Dutch theatres and the sustainability of Nora

Nordlit ◽  
2015 ◽  
pp. 445
Author(s):  
Janke Klok
Keyword(s):  
The Netherlands ◽  
Cultural Transmission ◽  
Translation Theory ◽  
Women Directors ◽  
Female Characters ◽  
Social Reformer ◽  
New Era ◽  
Avant Garde ◽  
New Women ◽  
New Ideas

<p align="JUSTIFY"><span lang="en-GB">In this article I reflect on Ibsen's laborious road to the Dutch stages to display the reciprocal influence between innovating theatre plays and the process of a modernizing society. In doing this I take into account insights from translation theory and the thinking on cultural mediation, whereby cultural transmission is seen as a way of interacting: the receiving culture’s receptivity towards new ideas and new forms is crucial for the space available for innovative literature from abroad. </span></p><p align="JUSTIFY"><span lang="en-GB">Tracking Ibsen on the Dutch stages shows a wavelike movement. Research into the reception of Ibsen supports the claim by the Dutch author Ina Boudier-Bakker (1875-1966) who used the late first staging of Ibsen's </span><span lang="en-GB"><em>A Doll's House</em></span><span lang="en-GB"> (1889) to illustrate the Amsterdam and Dutch conservatism with regard to gender roles and avant-garde art. Prior to 1890 the Netherlands lagged behind other European countries. With the Dutch production of </span><span lang="en-GB"><em>A Doll</em></span><span lang="en-GB">’</span><span lang="en-GB"><em>s House </em></span><span lang="en-GB">a new era arrives.</span><span lang="en-GB">After a flying start and a growing appreciation for Ibsen as a social reformer, particularly concerning entrenched (gender) conventions, Dutch critics in the period 1930-1970, do not seem to be able to place Ibsen’s plays. A qualitative analysis of the revival by way of the jubilee performance </span><span lang="en-GB"><em>Ghosts</em></span><span lang="en-GB"> in 1956, shows that Dutch audiences hold off a contemporary debate by focusing on geographical and ethnographical distance. It indicates that in the fifties this audience was intellectually and artistically conservative. Tracking Ibsen on the stages after 1970 shows us the current multicultural society; it shows us a renewed interest in his female characters, which culminates with Nora. It shows us an increasing number of women directors in Dutch theatres, also in advanced theatre school performances. Present-day Dutch theatres and their audiences seem to be mostly interested in Ibsen’s theatre women, be it his female characters or the relatively new phenomenon of women directing his plays. Their experiments with his texts are highly appreciated and show a renewed interest in public debate, re-establishing the discussion that was aroused in the first period of staging Ibsen in the Netherlands. The experiments with Ibsen’s “old” female characters by his “new” women directors form a most important ingredient of his modernity and sustainability, both where content (feminism = noraism) and where form are concerned. It is these women who confirm Ibsen’s position as an author of today’s world. </span></p>

scholarly journals Women's Struggle against Patriarchy: An Analysis of Radical Feminism Through Nadia Hashimi's A House Without Windows

2019 ◽  
Vol 2 (1) ◽  
pp. 1-9
Author(s):  
Naily Syiva Fauzia ◽  
Anik Cahyaning Rahayu
Keyword(s):  
Decision Making ◽  
Problem Solving ◽  
Radical Feminism ◽  
Self Awareness ◽  
Female Characters ◽  
Male Domination ◽  
Root Cause ◽  
Right To Work ◽  
Patriarchal Society ◽  
The Right

Under twenty years of war, women in Afghanistan suffer from oppressive situations and rules resulting in inequality and injustice. Afghanistan women face difficulties at all levels of Afghanistan patriarchal society. Male domination is the root cause of damaging to women’s rights in Afghanistan that brings impact to inferiority of Afghanistan women. Using radical feminism by Kate Millet, this paper tries to describe the struggle of Afghanistan women in gaining opportunities to move forward in their society. The analysis is focused on the female characters who deal with problem solving to their unfair condition such as Zeba, Gulnaz, Latifa, , Mezghan, Bibi Shireen, the wife of judge Najeeb, Sitara, Meena, and Aneesa. They begin to build self-consciousness, to demand autonomy in decision making, to declare resistance to be controlled by the men, and to get their basic rights such as the right to speak, the right to get education, and the right to work to earn money. The strong self-awareness and determination as reflected from the female characters are the women’s primary step to get rid of male domination and to proceed in their lives as well as in their society. Through this literary evidence, radical feminism emphasizes that women’s efforts to protect their rights means approval that inequality and lack of opportunities for women still happen

Subversive Sound: Gender, Technology and the Science Fiction Blockbuster

2016 ◽  
Author(s):  
Heidi Wilkins
Keyword(s):  
Science Fiction ◽  
Space Technology ◽  
Female Characters ◽  
War Films ◽  
Avant Garde ◽  
New Hollywood ◽  
American Films

This chapter considers the representation of gender in the late 1970s and 1980s in the so-called blockbuster era, focusing specifically on the science fiction genre. The aural dimension of these types of films immediately conjures up ideas of space, technology and other worlds and thus potentially appear as acoustically distinct from the experimental or avant-garde nature of New Hollywood or the loud, pervasive sounds of weaponry, shouting and male camaraderie in war films, which, as previously discussed, explored alternative representations of masculinity in mainstream US cinema. Financially, the most successful American films to emerge in the post-New Hollywood era were Hollywood blockbusters. These films, which were popular from the late 1970s onwards, saw a return to classical movie formulas and genres which, according to some scholars, also saw the re-emergence of strong male heroes and passive female characters and thus a noticeable return to binary representations of gender.

scholarly journals Analysis of Women Characters in Karnad’s ‘Yayati’

2019 ◽  
Vol 7 (12) ◽  
pp. 8
Author(s):  
Hima Parayil Kalesan
Keyword(s):  
Women Characters ◽  
Female Characters ◽  
Dominant Ideology ◽  
Male Domination ◽  
Societal Structure ◽  
Women's Emancipation ◽  
Set Up ◽  
Great Step

Karnad has revolutionized the image of women in drama through ‘Yayati’, one of his initial plays. He has contested the typical women image created by the dominant patriarchal idealogy. Though the women characters in ‘Yayati’ shows a spirit and strength unlike the docile nature and meekness expected of them, they all finally succumb to the bounds set by the patriarchal framework. However much rebellious they were to the norms of patriarchal set up; all these female characters could only partially succeed in creating an image of an emancipated woman. The play  do not show  the characters in an open wage against the societal structure and male domination but the female characters are shown to be thinking beyond the bounds set by the dominant ideology. The courage to break away from thinking along the lines of dominant misogynic ideology is a great step towards women’s emancipation. The essay is an attempt to show how Karnad’s female characters are struggling to break the fetters of patriarchy and yet are failing at it and succumbing to the patriarchal order of society ultimately.

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